SXSW 2011: Demystifying Theatrical Windows

In Hollywood, the concept of “windows” — namely, the time period in which a film can be exploited — has become a hot topic in recent years as DVD sales continue to slide and distributors experiment with assorted models of releasing films at different times on different platforms. On Saturday, several members of SXSW panel tried to help clarify the rationale behind specific distribution strategies and gave tips to independent producers on how to get their films noticed.

The panel — which was appropriately titled “Watching Windows: Constructing Your DIY Distribution” — was moderated by Gravitas Ventures’ Michael Murphy and featured perspectives from the point of the view of the cable operators, distribution companies and independent producers.

On the cable side, Rich Wellerstein, VP of VOD Programming & Planning at AT&T, kicked off the panel by highlighting the constant need to acquire more content to feed their customers’ increasing appetites, adding that he thought independent films are crucial because studio films aren’t what they used to be. Comcast’s VP of Entertainment Services Diana Kerekes concurred with the need for content, noting that her company has added new curator-run film clubs to help guide their customers to the films they’re interested in. Comcast is “run as a network,” said Kerekes, who pointed out that since 2003, Comcast has seen 18 billion views of on-demand films, even though they’re only in 40% of homes.

From the content side, producer Cora Olson said she was glad to to hear there was an appetite for content since at the end of the day, filmmakers were still want to get paid for their work. She also added that if possible, it was advisable for filmmakers to to put in marketable elements into their film, such as a recognizable cast, so that cable companies and distributors would have more to work with when promoting their films. Films that are featured in the barker — the repeating 20-minute promotional reel that runs on the options page — have two or three times the viewers that non-featured films do; but films can only be hyped in the barker if there’s a recognizable star or director. To get good publicity, she said, you need to deliver good elements.

Filmmakers now have to become “professional noisemakers,” said Variance Film founder Dylan Marchetti, meaning that they have to take the initiative in getting the message about their films out to the public. They also have to make educated predictions about who and when to sell their films rights to. When asked how he decides whether to distribute a film on-demand on the same day it comes out as a theater, versus releasing it 60 or 120 days after it hits theaters, he said the process still remains a bit of a “crapshoot,” though much depends on the specific audience.

But all panelists were bullish on the growth of video-on-demand options this year and agreed that traditional windows are collapsing as the film industry changes. Wellerstein noted that while VOD only used to be 3% of a film’s earnings, it has recently climbed to 10% — still far from a majority, but a growing influence.

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